looking two ways by 25th

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Moving place from East to West

Two perspective within practice

Introduction

There are two broad from works to my exploration within movementbased practice. One conceptualises the inner state of being in terms ofenergy flow and the external forms, reflects a more traditional easternphilosophical approach. The other draws on anatomical understandingsand reflect more phenomenological attitude drawing on western andpostmodernist developments.

The exploration, dynamic interplay and possible integration of these formthe basis of this paper.

In Australian society there is a general acceptance of the special status ofthe first Australians, - the indigenous people - and the importance ofrecognition, respect and reconciliation . There is also a widely held view ofthe need to develop and maintain mutual understanding within thecultural diversity of contemporary Australian society.

Australian multiculturalism as a social ideal is a relatively recentphenomenon barely two decades old, and is now under public scrutiny. Inits normative sense, this way of thinking about issue of migrantsettlement has replaced the rigid monocultural, assimilationism of the1950s and 1960s. In essence, multiculturalism signified that variantcultures can flourish peacefully side by side (Wirth 1945), provided thereis as acceptance of the commonalities of society embodied in the politicaland legal system. (Castles, 1992, 20)

I should acknowledge that I am interested in the ways and roles thatcross cultural contemporary arts can contribute to

Social cohesionCultural identity

Equality of opportunity and access

This study is focused on the interface between my Korean ancestry andearly life and my engagement within a culturally diverse Australiancommunity.

In many respects this paper is a life narrative in which the setting of theprotagonist has been shifted. To understand the issues that areembedded in my practice it becomes important to place them in somecontext. As Derek(2004) notes we ascribe ourselves and others as havingindividual characteristics.

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Personal identity is how a person regards themselves and how they andothers relate to behave toward people in life.There are five important dimensions of the self : It is both part of societyyet apart from it ; people are emotional as well as cognitive beings; self-

identity changes and develops over time; self-control and control overothers are essential to social interaction; the self has higher or spiritualpotential.(Derek , 2004, 28)

In this self narrative then I have experienced several quite differentcultural environments, and I have at times felt that where I am(in place)can effect the way I feel and the way I know myself. This is perhaps akinto a sense of shifting identity.

In my attempts at exploring my dance and dancer identity I am remindedof the ways that dance as a practice comes with its own histories andtheories.

As Friedler and Glazer(1997) point out,The study of dance is addressedsimultaneously as theory, history and practice in the body. Dancers learndance by observing, imitating and analysing. Of considerable importancein my reflection is the role of teachers on my practice. Again as Friedlerand Glazer note Dance has developed under the maternal eyes ofteachers and choreographers who were largely responsible for thecharacteristics of dance today. (Sharon & Susan, 1997, 1)

In the next section I reflect on my experience training as a dancer inKorea. This is accompanied by consideration of traditional Korean dance'sphilosophic foundations.I also describe shamanism, its residue as a practice today in Korea, andthe ways it is influential in my artistic life.

I examine some of the western dance and choreographic practices thathave profoundly impacted on my practice. I note some of the connectionsand lineage within these strands and introduce aspects that haveimpacted on my work.

Chapter 1

Tradition, Dance, philosophy, Shamanism

To better understand how these views are present in my current practiceit is useful to reflect on my past practice and values. I am interested inreflecting upon in fluential past training and cultural values. This involvesunravelling what I referred to in the introduction as an Eastern perspective

on dance. It should be pointed out that this is very much a subjective and

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interpretive process. I seek to articulate some of the values, beliefs, andphilosophies intrinsic to these practices.

I will start with my training as a Korean traditional dancer, and the socialchanges which have brought about a regeneration of the form. This is

followed by a discussion of ways that my dance practice andchoreography is socially informed and constructed.

Korean traditional dance focuses on spirituality, and internal experiences.Technique is not the most important element and it has a minor role inmovements. Traditional dance concentrates on its own content ratherthan technique for instance, the dancers state of arousal has a greatereffect on the dancers emotions and the energy of their movement, ratherthan technique and physical activity.

Korean dance training proceeds by following the movements of themaster; the master explains the movements shape and feeling throughimagery. Individual style is explored after reaching a professional level ofskill.

The basis of traditional dance is the skilful use of breathing which canlengthen or shorten the movement. The energy coming from the abdomencirculates through the whole body, and it creates gestures and expressivemovements. The individual dancers breathing can be felt by otherdancers in a group as they respond to sense each others energy inperformance.

Traditional dancers in the past were mostly women or people with lowsocial status. Recognition of the poor status of traditional dancers was oneof the factors that led to the modernization of traditional dance.

In 1962, the first dance department was established at Ewha WomensUniversity in Seoul Korea. Koreans value learning in the university system,and in this setting dancers were stimulated to explore and develop theform. Dancers also had social respect and traditional dance becamerecognized as an art.

A turning point in Korean traditional dance history was when performancebegan to reflect contemporary thought and to present subjects thatcriticized the modern world and portrayed a variety of psychologicalthemes.

The Changmu Dance Company1 begun to present subjects that criticizedmodern civilization and portrayed a variety of psychological themes. Theybegan to introduce greater expressiveness in movement combiningtraditional breathing and imagery based movements and contemporarythought. Mae-Ja Kim explains her perception of the influence of

contemporary ideas on traditional dance.

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"We aim not only at reconstructing 'movement' representative of various

periods of Korean dance, but also at reflecting contemporary thought,"

she said.( Mae-Ja Kim, 2002)

She goes further to underling issues facing Korean dance in the future.

Firstly, Korean dance had to initiate and undergo changes to accept theformat of contemporary theatrical dance. Secondly, it had to study thetraditional elements of Korean dance culture from a more fundamentalperspective, if it was to achieve a successful renewal," (Mae-Ja Kim, 2002)

Crossing over into contemporary dance and my experience of living in aWestern culture as an Asian person, made me suddenly aware of howpersonal identity influences by diversification proceed space as context ofchanging creative idea and what does effect on movement practice ascultural sense of belongingness.

Martin J. Gannon(1994) proposes the use cultural metaphors as a way toeasily express a cultural mindset and compare it to that of other cultures.These metaphors involve identifying as activity or phenomenon that mostmembers of a culture would view as important, and then using it as ametaphor for describing key features of the cultural group. (Goldstein. S,2000, 23)

According to Henri (1981) the international migration has brought about anew understanding of national identity and whether it has contributed to

the formation of altogether new group identities in society.

Being an immigrant has made me a stronger humanist and my experienceof two significantly different sources of inspiration, traditional and westernculture, has given me a richer sense of identity and an artistic direction

Social identity theory ( Tajfel & Turner, 1986; Turner, 1999) differentiatesbetween interpersonal behaviour which is determined by individualcharacteristics in case of a salient personal identity and intergroupbehaviour which is determined by characteristics of the group in case of asalient social identity. (website state- of the

-arts 2008, accessed 11Nov 2009)

Beliefs that are intrinsic to and shape my world perspective(Confucian and shamanism belief as my broader values

that seem to frame my perception)According to Gadamer (1975), complete understanding is rationalagreement, a comprehensive overlap of beliefs regarding a topic ofdiscourse. It follows that the process of understanding should be thoughtof as a gradual uncovering of another persons beliefs and that a good

understanding of another person presupposes that there is a significantoverlap of common beliefs. (Nordby 2003, assessed 11 Nov 2009)

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Confucian philosophy value

Propriety involves understanding a persons correct place in society.

The individual stands simultaneously in several differentrelationships with different people: as a junior in relation to parentsand elders, and as a senior in relation to younger siblings, students,and others. While juniors are considered in Confucianism to owetheir seniors reverence, seniors also have duties of benevolence andconcern toward juniors. This theme of mutuality is prevalent in EastAsian cultures even to this day. Social harmonythe great goal ofConfucianismtherefore results in part from every individualknowing his or her place in the social order, and playing his or herpart well. ( Confucianism 2009 accessed15 June 2009)

Confucian philosophy in korean society today

Confucian culture was seen as based on what the ancient sages hadthought people to do, and the sages teaching ultimately were groundedon the four sprout.The concept of the heart mind as consisting of the four sprouts commonto all humans that provided the foundation for moral behaviour and socialorder ; the sense of compassion, shame, courtesy and right and wrong.

(Anne D, 1996, Pg55)

From a positive perspective, people stressed practical affairs and moralityin everyday life, along with a form of self-cultivation that featured rigorousreflective thought and educated.

Knowledge and Action of Confucianism

The main purpose of learning is self-cultivation. But the self cultivation isnot supposed to lead to a non-active life. Confucius believed that the self-cultivation of ones own inner world is the basis for one to deal wisely with

human affairs. Since Confucius did not despise political power, inconfucius doctrines there should be no conflict between self cultivationand the pursuit of power.

In theory the two are reconcilable: the inner cultivation of the self is notonly an end in itself but also a means toward ultimate self-fulfilment in theworld of action. Confucius considered knowledge and action to becomplementary. Knowledge is not only for the sake of knowledge.Knowledge should be used to solve practical(social) problems. Therelationship between learning and practising what one learns is a close

one.(Zhang, Bin W. 1999,56)

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Confucius believe that different behaviours had different impacts on themindIt is a main feature of Confucianism that when it discusses action, italways refers not only to its temporary consequences but also to its

possible long-term impact on the mind. Confucius held that application ofknowledge not only has social utility but also will bring pleasure to thescholar himself.

In Korea, traditional social organization was largely framed byConfucianism.The social organization that held men together is an important form ofhuman adaptation to the environment. Its discrete structure is dependenton moral codes and legal systems as well as on mans capacity to dealwith nature.

Man is a social organization of any highly evolved civilization is not a mereconsequence of natural evolution. Its structure is largely a result ofconscious efforts, built on the basis of philosophies. (Zhang, Bin W. 1999,59)

There is a difference of degrees in mens understandings, apprehensions,and reasonings, to so great a latitude that one may, without doing injuryto mankind, affirm that there is a greater distance between some menand others in this respect, than between some men and some beast.(Locke J. Two Treatises of Government, 1689)

Social organization, in brief terms, consists of the arrangement of men.The concept of man is a key element for understanding structures ofsocial organization.Korean society depends on hierarchical organization and on the properperformance of roles from top to bottom. Each individual is expected tofollow social norms of conduct.

The Confucian society held that every (social) symbol-clothes, behaviour,words-contains certain implications which constitute that class of things towhich the symbol corresponds.

I am interested in the investigation that what does the east socialphilosophy difference between living people in west society. I saw thedocumentary film recently about differences of East and West peoplesperspective. There are couple of confucians philosophical issues that Iwould like to describe here.

First, People have the different expression about self confidence betweeneast and west.According to Lao-tzu (604-531BC ? Chinese scholar) People who talking a

lot because of they do not have knowledge but intellectual people doesnot need to talk...

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The cultural philosophy of eastern people understands as passive attitudeabout self-confidence. In contrast to western people has active expressionabout issues.

Second, how they have different composition (view) when they see some

picture.East people see picture as whole view, but when western people see thepicture they pay attention each object in the picture.The origin of a word ATOM (uncut) it means that ATOM is the importantone cannot cut anymore, based on the character of each ATOME it makewhole character. It is the example as western people believes how theindividual does is important in group. The other hand eastern peopleeducated always aware of group and family rather than their own being.

Shamanistic practice

*How this is present in my practice. describe the beliefs that i share withshamanism.*About gut,*Gut experience as potential strengthen in the performance

The Korean shamanism tradition is based on the belief that the shaman isable to be an intermediary between us and spirit of our ancesters.Shamanism has had a lasting influence in asian culture and its traces arestill found in Korean society today.

Often women become to be a shaman very reluctantly, after experiencingthey have illness physically mentally that indicate possession by spirit.Shaman performe through Gut2 to bring good fourtune for client.

Shamanism

I am still writing

Example work..*Tony yap what is the shamanistic movement to him?*Pina Bausch performed with Korean shaman in korea..

Chapter 2Investigation of developmental perspective as my present

A some women working as choreographers start to be taken seriously,having hit their stride creatively. This psychological and occupational

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growth can sometimes be attributed to the fact that the artist has beenable to successfully differentiate from the original mentor figure in whoseimage she might have been formed. Their development has meantmoving from dependency as a novice to autonomy as an establishedartist. (Susan. A ,1997, 235)

These attitudes are diverse in their formds. They reflect new perspectivesand thinking about the world. In dance in the end of the 20th century theyreflected interest in the ordinary, the so-called pedestrian. It manifested innew creative procesees - some of which are concerned to look at thedetailes of action from an anatomical or even mechanical perspective.

In a world where questions of power and empowerment were beingraised, the role and function of choreographer were raised and newrelationships involving collaboration, mutual respect and empowermentemerged. There was an innate curiousity about the values attached toperspectives and this has at times manifested in the dancer/artist stayingopen to what was arising within and without their dancing. It could berelated to the phenomenological approach of Husserl who advocatedsustained engagement and appreciation of subjective nature of ourexperience.Also I would like to aware of the underlying thematic relationship betweenintergrationof the traditional form and expression of the demystification of fairy tale inpostmodern

dance. A sense of combining images with the body work where thegestalt of the dance is predicated on a synthesis of active imagining mindand responsive energised body.

(*Twyla Tharp, Trisha Brown, Steve Petronio try and note theirconcerns/interests briefly. Here?)

In the next few sections I examine several artists with whom I haveexperienced contact.Working with various choreographers who each have a differentperception on

movement vocabulary and aware of reveal myself as new experience inpractice.Determining a set of such things to attend to in an improvisation andsometimes knownas a score can provide a frame for performance.Differences some new concepts and approaches that I haveidentified with.

Classroom/professional dance practices approaches working withAustralian choreographers Helen Herbertson , Trevor Patrick, Rosalind

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Crisp, Becky Hilton, Lucy Guerin who each have a very differentperspective on movement vocabulary, was a revelation.

Experiencing their approaches to my choreographing practice lead me byunderstanding and more possibilities to realize the unique creativity

through observing and reinterpreting of various movement languagebased on Korean traditional dance practice.

Practice 1. Structural components of skeleton and movement

This practice draws heavily on the various sciences that contribute to theunderstanding of the complex phenomenon of movement bychoreographer Helen Herbertson. Focus on the physical movement evokeby stimulation of muscles and characterized by qualitative andquantitative positional changes of the specific skeletal parts.

The idea, the concept of movement, is the voluntary act and the solevoluntary component of all movement .. Imaged movement is bestdefined as an ideokinetic facilitator. (Lulu E, 1974, 7)

The knowledge of the universal energy, the skeletal structure andprinciples of muscular and neurological function as movement exploration.

Be aware of specific skeletal in movements

This movement practice develops the sense to find central point in mybody.The central point is the root of the movement and the supporting place tothe sense recognition that controls the right amount of energy in themovement. Also finding the central point gives us the ability to recognizethe force and realise the discipline to explore movement with theinteraction of body and energy.

Rib Cage- I feel more air in the body, and I feel that the dancer canfurther explore the interaction between the body and the breath and

how that affects the expression of energy in the space.

Sacrum-Be aware of my Sacrum that I realise my body balance wasgenerally slightly forward than central point. I notice that as I pushmy body a little more onto the toes, I try to feel my feet relax andkeep my weight to the central of the feet or body. I open my senseto find out a better balanced structure and greater efficiency inmovement.

Spine stretching to support the circulation of energy in whole

body, and the concentration of energy in the body

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By generating the skeletal awareness of the body and spatialinteraction I found another connection which brings the feet energyinto the floor. It is always fascinating to explore and realise againthe three interactions about space, body and floor to enjoydiscipline everyday and every moment. This exercise bring a higher

consciousness to balance of the body, grounded feet, open chest tocontain more air in the body and deep breathing as better efficiencyin movement.

I explore the feeling that is the negative and positive way of extremity todiscoverextreme body shape and concentrate on finding any other skeletalsupport that refines the detail of my extreme sense.

I improvise about extremely long and short, big and small, happiness andpain and these various imaginative states give me more possibilities toexplore my creative movement discipline.

The voluntary act and sole voluntary component on extreme movement.

Neck

If I create shape such as a long extreme line using my arm and leg, Iam conscious that my neck should be in a supporting position in the

body shape. The most extreme feeling can be created with right

position of neck support.

Nose Bone I find that the awareness to extend the energy from the nose bone

and run that energy line relative to the body line gives a strongerextreme feeling as a conscious energy supporting line.

Unconsciously, other bones and muscle support movements as

voluntary act.

Improvisation with bending any joint of the body. I approach different ways of moving with different emotions, and I

feel my movement energy like an internal flow into the body. I alsofound a feeling that there is a three dimensional shape within melike my body is full of air.

Improvisation with stretching the body joints.

The energy line is more outside the body rather than inside likepreviously found with bending techniques. The feeling is more

active, but I can not breathe deeply I feel that the movement is flat.

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P ractice 2. Development of human movement

Theatre performer and dancer Trevor Patrick his continuing focus is onthe development and expression of the dynamic imagination through thebody. Trevor trained extensively in Western classical, modern, and

contemporary dance practice and also uses Eastern esoteric practices,idepkinesis and improvisational structures to broaden the range ofexpression available to him.

Don, in the quote, he talking about the both popular/ unpopular culture, isit east and west culture? It was my understanding, if not I will changethe quote..In my most recent written work, particularly the performance texts, Ihave identified moments of interest to me, from what has been written,spoken, or talked about in both popular and unpopular culture, and I haverescued(read plundered)these otherwise dry and serious moments fromhistory and experience, from other fabrics and other realities, in order toembody them, to attend to the poetry, the wit, and sometimes thesadness charging this material. (Patrick. T 2008)

Description of two provocative effects on movement

Foot exercise with ball.

The foot is one of the most complex parts of the body. It consists of 38

bones connected by numerous joints, muscles, tendons and ligaments,

and is susceptible to many stresses. Foot pain is caused by a variety of

conditions, most often improper foot function or poor posture. The most

common reason for people to have foot problems is a condition called

abnormal pronation, in which the foot does not strike and/or leave the

ground as it is supposed to (Journal Acupuncture in Medicine 1996,

accessed 15 June 2009)

During the work on foot technique this week I was often thinking of the

relationship between feet and the organs of the body. I am also awarethat knowledge of acupuncture points found on the feet, along with

indications for each point, and foot conditions affecting kinaesthetic

movement may affect the quality of the movement when I keep my focus

on the feet in dance exercises.

Reflexologist believe that the body is represented on the feet through a

system of reflexes mapped out on 34 point specific areas around the feet.

Reflexology is the practice of stimulating these points and areas to affect

changes to the linked organs of the body for better health. Reflexology is

believed to have originated in China 2,000 years ago, although there are

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some that it's origin is in Egypt or India.

(Acupuncture web, accessed 15 June 2009 )

In the process of the foot exercise with the little ball I found a few points

that I felt pain and it stimulated me to maintain focus on these few special

points as my own treatment to produce more active circulation of energy

in my body.

One of the more important ways to explore my movement is to focus on

or visualise producing [the] energy within my body and how to express it

in movement. I think that I may discover some interesting results by

learning more about reflexological maps of the feet and testing what a

focus on specific points delivers in energy movement and texture in my

body.

In improvisation, dancers work spontaneously on a given theme with no

attempt to memorise. We (choreographers) can use this to find fresh

movement before start ing to set material.

In particular, the image based improvisation of creating a clock on our

back and finding contact with the wall and looking to indicate time passing

helped me find more sensation and physical awareness. Central to this

though were more basic physical visualisations such as creating a bowl

within the pelvis to feel anchored in the body.

The clock movements sense and sensation can trigger memory or

experiences and I am also aware that being drawn too much into an

internal state may reduce my ability to keep the physical open sense to

feel what relationships are around the space. Also, during the exploration

to feel the six senses in improvisation I felt that it changes the quality

because of the constant rediscover of sensitivity to physical sensation and

stimulus through the imagination.

Practice 3. Sensation and Form

Rosalind Crisps improvisation choreography (BMC) is another source ofanatomical structure in depth and concentrating focus. It focuses onmovement sensation, with movements initiated by a partner touching thebody and the sensation of touch generating solo movement. The processstimulated a sense of the relationship between all of the parts of my body,space, and floor in a very intense way.

Choreographic improvisation

In the partnering improvisation as body stimulus each other:

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we are encouraged to do nothing, allowed to do anything, in five and tenminute blocks with our eyes closed. Eyes closed has taken us deeper intoour awareness of the body.

I had an incredible sense of all of my cells moving when I danced and this

feeling brought me to another level of quality in movement. I know that Icant explain this experience, but hope to achieve this feeling more oftenwhen I perform. My concentration on the memory oftouch, made me focus more on my body rather than thinking of physicaltechnique.

From a warm up based in breath, weight and attention to sensation,particulary the sensations of falling, we work with one or more movementscores ( such as constantly change the part of the body that is leadingthe movement), scores initiated by partners touch as feel the sensationthat focus in improvisation and could be used to challenge habitualmovement developing.The scoring helped to reveal quite clearly the difference between apsychologically-led performance and a physical one. Although feeling andemotions are part of the principle medium of the dancing, they areperceptual responses in the sensing body as opposed to conceptualintentions. Some score such as go into it, you have exhausted it, loveit which I experience as projecting the energy of body into the head area.

I think of it more as one inside the other, not as a space in between them.

I call it choreographed improvisation. She demands that every option formovement be available at all times and her work entails a highly rigorousapproach to making dance, offering no set steps, but a recognizablevocabulary. (Jo. P interview with Crisp , 2006, 25 )

Crisps work is both improvisation as full committed practice andchoreographed work.Conceptualise of body expressing by distraction tasks, some of the widescores we used were: move on a long breath, stay with that, take upmore space , disrupt yourself gently, stillness is always an option,work with something totally new and unfamiliar.

In the practice I improvised movements focus on each part of body forinstance to aware of creative movement with one arm and two leg orhead, one leg and torso . There were limitation to improvise body at thebeginning but it begun to be more self- awareness of the body then candiscover own capacity and also limitation on movement.

The brief idea summary of practice 1,2 & 3

The focus can be on extremities of limbs, the toes, the fingers, the

linkages and joints. It might be on stretching or bending articulation. Byfocusing on several things in particular such as variations of effort,

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energy, skeletal shapes and orientation to a witness.

It is only within the last fifteen to twenty years that dancers have

systematically studied the science of human motion. Prior to that,

tradition was the sole director of dance training. Therefore, it is not

surprising to find a whole galaxy of myths which thrive in dance studios

where teachers have not been trained in the science human motion.

(Fitt. S , 1988, 327)

I have been trained in Korean traditional dance, which is fundamentally

based on an imagery led approach to training and choreography.

Also I was thinking about the body energy point in

acupuncture/reflexology and how it relates to the dancers flowing and

containing energy and what effect research and experimentation may

have on the quality of movement. I generate in myself and others.

I believe that it helps to feel the detail of the body and movement line,

this can be explore to deepen my exploration of my movement and

culture.

I would like to keep exploring my movement with skeleton based imagery.

I think that it can help me create more detail in movement and with this

consciousness I increase the possibility that I can challenge the wider

choreographic boundary.

Also the interplay between unconscious and conscious mind is flows in

both directions all the time. The conscious and unconscious are a

continuum of one mind. They are each the shadow and support of the

movement and expression of the other.

The creativity flows out of our unconscious then conscious mind can

discover the form that emerges from the unfolding of the creative

process. This insight into pattern of the process can then further open and

expand the avenues of unconscious expression. (Cohen. B Bainbridge,

1993, 13)

The brief idea summary of movement process Gyu-Bang-Ga-Sa.

Comparative energy flow depends on bone position; particularlyarms and legs bend and stretch

Create small space for my own movements then try to explore the

relationship between dancer and audience as creating space withparticipants or other bodies.

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Bending arm/leg joints of the body gives the movement energy acontained feeling, reminiscent of a partner dance feeling or anintimate movement that you share with someone present. Inoppositions stretching arm/leg joints throws the movement energy

out ward and a sense of isolation and the absence of regard fromother people like they have disappeared.

Field work 1. The concept of idea Gyu-Bang-Ga-Sa

The idea for the design of the piece comes from the meaning of the wordsGyu Bang in Gyu-Bang-Ga-Sa. This means small room (the domesticworld of women) and it is separate from the outside world. This is aninterior space and is isolated from the world of action inhabited by men.In Confucian society conflict happens in the space if the two worlds arebrought together.

As working process in creating a performance to compare and contrastthe role of women in the Confucian system with that of contemporarywomen who have been brought up in a Confucian-influenced society (forexample Korea, China, Vietnam, etc).

In doing this Im interested in how identity is derived from time and space:aware of the ways that parallel architectural affect of the body can be atemporal and necessarily changing and dynamic part of the objects insource. It can be understood in this way and this is a new perception or

awareness in progressive work.

I am still writing hereBecky Hilton

The performer in space - spatial awareness orientation draws on Trishabrown.

Lucy Guerinuse of text to develop choreographic material. It enables the constructionand reconstruction of emotion. from text she asked us to find a mood,find a feeling, find movement, find energy.

Post modern dance and chorepgraphers(The fairy tale revisited by Maguy Marin & Pina Bausch)

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Field work 2. The concept of idea Stanza

Culture is in me as basic as thought, shifting and changing with my lifejourney.In this work, five lines of cultural movement language bring their own

beauty and rhythmic grace, a poetic impression in time and space.

Exploration of the inner felt sense of alienation, fear, isolation, complexity,love and belief value of being significant element for the mutual creationbetween movement and dancers emotion from their own cultural valueand life experiences to emerge by universe the mature quality on dancemovement.

It was a joy to observe each dancer - individually and collectively - giveexpression to interior monologues through the universal elegantlanguage of dance. The elegance and beauty of the work and the strongfeeling of a women's place.A whole world was created where the work could sit and breath. This isnot to abandon emotion and feeling - these affective aspects are stillpresent.

The collaboration with visual artist Naomi Ota her installation invitesaudience into the scenery which gives a sense of slow-growing (growthwith stillness). Forms of objects refer slow-transformation of natureparticularly which of sea-bleached coral.

This took me from my focus on what was occurring within to anawareness of the dancer being in his or her performance spacial imagerysetting or environment.I came to be aware of how I can create using the space - its intrinsicqualities as well as its dimensions. I came to think in ways that parallelarchitectural awareness.The body can be a temporal and necessarily changing and dynamic partof the objects in source. It can be understood in this way and this is a newperception or awareness.

Tradition-aware of the approach post modern dance- phenomenological

looking between folk tradition and new discipline are being revaluedtradition and together with the notion of multiculturalism in newperspective structural choreography form.Understanding the theory of cultural identity through the changingperspective

Chapter 3Multiculturalism in Australian society

I believe that there are active engagement of people themselves in thecreation of their own cultural agenda in Australian society.

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The emerging of arts work that I saw many performance developmenthere people have multinational identities with their own subjectivities intheir work like cultural multidisciplinary development.

I am interested in researching more about what is Australianmulticulturalism and it would bring me to more understand the journey ofmy perspective in this significant space as a growing cultural guestworkers.

Australian society is made up of people from many different origins.Although Aboriginal Australians have lived on this continent for manythousands of years, the rest of the present population of Australia (99percent) are immigrants or the descendants of immigrants who have arrivedin the past two hundred years.These people have come in successive waves, starting with the Britishsettlers and convicts who first came to colonise Australia at the end of theeighteenth century.

Given the rapid demographic transformation that has occurred over thelast 50 years, there is no doubt that Australia is descriptively andprescriptively a multicultural nation.

This diversity, and the fact that Australias future in increasingly beinglinked with Asia and the Pacific, make it imperative that we look at where

we are going as a people.What is the nature of the Australian national identity?

The diversity and pluralism characteristic of contemporary Australiansociety is a relatively recent phenomenon. The conventional image ofAustralia has been that of a highly homogenous society which was alsoregarded as an outpost of white racism.In order to understand this new pluralistic ethos, as Bottomley(1991),Martin(1978) and others have shown, we need to identify the enduringframes of reference that stand in the shadows behind definitions of publicknowledge about migrants and ethnics.

The first relates to the way in which pluralism and diversity has beenunderstood as cultural diversity and that ethnic groups are to beregarded as cultural group. Hence, the question of the culture-oftenregarded as the unproblematic centrepiece of the ideology ofmulticulturalism-acquires special significance. In brief, we shall argue thatthe way in which the concept of culture has been used, defined, andunderstood, is central to an appreciation of the meaning of difference inthe Australian context.

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The secondly, it is suggested that the manner in which the cultureconcept has been conceptualised in the multicultural discourse distortsthe true character of diversity of contemporary Australian society.

Australian multiculturalism as a social ideal is a relatively recent

phenomenon barely two decades old, and is now under public scrutity.

The term multiculturalism,borrowed from Canada is a shorthand way ofcharacterisingthe doctrine of cultural pluralism that has evolved over the past twodecades.In its normative sense, this way of thinking about issues of migrantsettlement replaced the rigid monocultural, assimilationism of the 1950sand 1960s.

In seesnce multiculturalism signified that variant cultures can flourishpeacefully side by side (Wirth 1945), provided there is as acceptance ifthe commonalities of society embodied in the political and legal system.As the NACCME Report observes that:

Australia has within a short space of a little more than a decade, achievedan impressive and successful development of educational policies andpractices known as multicultural education[while] there are neglectedarea of policy and practice.. the record of development is considerable(1987,48)

Multiculturalism as an ideology is under strain. Issues relating to questionsof rights, political and social, are likely to be in the forefront of policy andreplace questions of ethnic identity, characteristic of culturalistmulticulturalism.

Social cohesionCultural identityEquality of opportunity and access

Understanding of the social and personal identity

The personal identityis how a person regards themselves and how they,and others, relate to, or behave towards themselves.

According to Derek there are more complex issues involved it is useful todistinguish three aspects of the self. They are; its general attribute asdimensions and properties, ;functions of internal organization modes ofawareness and ;the self of feelings, behaviour, skills, capacities. (Derek2004)

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The self is both social and psychological in nature, the self can onlyexist within a social context.

The self is essentially emotional in nature, people areknowledgeable, skillful and rational, these capacities must beunderstood to emotion.

The self is a centre of awareness and control over self and othersfrom gentle control and influence to extreme exploitation andcoercion.

The self is flexible and pliable in two major senses. Fist, it maymanifest itself in different aspect. Second, the self changes, evolveand develops. In this sense it is the self-realization.

The self has a spiritual aspect which often remains undeveloped. Itis not requires sensitivity, commitment and education. It maydevelop as part of a process of self-transformation.

Everyone is influenced by society and we can never be outside society.We have a unique inner self which chooses what to do and how to do it,people have the knowledge and skills that allow us to deal with others andsituations in our own term it is self-directing beings capable ofindependent thought and behaviour.Aslo, people are all unique individuals because they have all had a uniqueset of experiences.

Every individual has a unique configuration of desire, wants and needsthat demand attention through social contact. We are social, not isolatedindividuals who have inter-completely satisfy our own needs, even if we

were concerned to make the effort.

Gjerde recommends shifting the focus from groups to individuals andmapping the areas where human experience overlaps, and where it doesnot. Through observation, in-depth interviews, and the study of variabilitywithin groups, Gjerde believes researchers could learn about things likedegrees of interdependence, which would be more credible and of greatervalue than sweeping statements about group differences.

Gjerde's model would take a more interdisciplinary approach to the studyof culture, incorporating the writings of anthropology and other fields, and

it would consider the influence of power, coercion, and class differenceson individual psychological development. He also questions the premisethat culture is passed on in a straightforward and passive manner fromadults to children.

"The assumption is that children acquire skills, values, and behaviors byparticipating in the adult world, but children today are not passivereceptors," he said. "Their resistance to dominant adult cultural practicesis a crucial--but often overlooked--component of their experience. It isnoteworthy that most cultural psychologists shy away from studying

conflict, resistance, and disharmony."

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Bibliography

Australian Ethnic Affairs council, (1982) Multiculturalism for allAustralians, Australian government publishing service, Canberra.

Cohen, Bainbridge B. (1993) Sensing, Feeling, And Action, ContactEditions, Northampton.Goldstein S. (2000) Cross-Cultural Explorations : Activities in Culture andPsychology, Allyn and bacon, Massachusetts.

Jayasuriya L. (1997) Immigration and Multiculturalism inAustralia,Message Design, Nedlands.

McRobbie A. (1994) Postmodernism and Popular Culture, Routledge,London.

Modood T.(1997) The politics of Multiculturalism in The New Europe:Racism, Identity and Community, Zed Book, New York.

Roberts J. (2006) Philosophizing the Everyday, Pluto press, London.

Ray P. & Anderson S. (2000) The Cultural Creatives, Harmony books,New York.

Susan Lee A. (1997) Dancing Female :Lives and issues of women incontemporary dance, Harwood Academic Publishers, Amsterdam.

Wilpert C. (1989) New Identities in Europe : Ethnic and Cultural Identity,Gower Publishing Company Limited, Aldershot.

Zhang W. (1999) Confucianism and Modernization, ST. MARTINSPRESS, INC., New York.

Reference List

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Cohen, Bainbridge B. (1993) Sensing, Feeling, And Action, ContactEditions, Northampton.

Castles S. (1992) Australian Multiculturalism : Social Policy and Identityin a Changing Society, Oxford University Press, Melbourne.

Derek L. (2004) Social and Personal Identity : Understanding YourselfSage Publications Ltd, London.

Fitt, Sevey S. (1988) Dance Kinesiology, Schirmert Books, New York.

Jo P. (2006) The Demanding World of RosalindCrisp: Three Points ofImmersion by a Sometime Inhabitant, BROLGA, Ausdance Melbourne.

Lock J. (1689) Two Treatises of Government,Cambridge UniversityPress, Cambridge

Manen M. (1997) Researching the Lived Experience : Human Science for

an Action Sensitive Pedagogy, The Althouse press, Western Ontario?

Susan, Lee A. (1997) Dancing Female :Lives and issues of women incontemporary dance, Harwood Academic Publishers, Amsterdam.

Zhang, Bin W. (1999) Confucianism and Modernization, ST.MARTINSPRESS,INC, New York.

Reference by Website

Name of web mention!

http://www.ccn-roubaix.com/index.php?option=com_content&view=article&id=144&Itemid=599&lang=en

http://www.chncpa.org/n457779/n457834/n516566/2763046.html

http://proximity.slightly.net/v_five/v5e1a2.htm

http://www.melbournestage.com.au/ms1/index.php?option=com_content&task=view&id=106

http://www.univie.ac.at/sittax/htm/social-ident.html

http://www.ehow.com/about_5456476_theory-social-identity.html

http://www.acupunctureproducts.com/

http://blog.timesunion.com/holistichealth/acupuncture-for-the-treatment-of-headaches-and-migraines/612/

Emphasis on 'culture' in psychology fuels stereotypes, scholar says, 2004http://www.universityofcalifornia.edu/news/article/6525

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http://www.ccn-roubaix.com/index.php?option=com_content&view=article&id=144&Itemid=599&lang=enhttp://www.ccn-roubaix.com/index.php?option=com_content&view=article&id=144&Itemid=599&lang=enhttp://www.chncpa.org/n457779/n457834/n516566/2763046.htmlhttp://proximity.slightly.net/v_five/v5e1a2.htmhttp://www.melbournestage.com.au/ms1/index.php?option=com_content&task=view&id=106http://www.melbournestage.com.au/ms1/index.php?option=com_content&task=view&id=106http://www.univie.ac.at/sittax/htm/social-ident.htmlhttp://www.univie.ac.at/sittax/htm/social-ident.htmlhttp://www.ehow.com/about_5456476_theory-social-identity.htmlhttp://www.ehow.com/about_5456476_theory-social-identity.htmlhttp://www.acupunctureproducts.com/http://blog.timesunion.com/holistichealth/acupuncture-for-the-treatment-of-headaches-and-migraines/612/http://blog.timesunion.com/holistichealth/acupuncture-for-the-treatment-of-headaches-and-migraines/612/http://www.chncpa.org/n457779/n457834/n516566/2763046.htmlhttp://proximity.slightly.net/v_five/v5e1a2.htmhttp://www.melbournestage.com.au/ms1/index.php?option=com_content&task=view&id=106http://www.melbournestage.com.au/ms1/index.php?option=com_content&task=view&id=106http://www.univie.ac.at/sittax/htm/social-ident.htmlhttp://www.ehow.com/about_5456476_theory-social-identity.htmlhttp://www.acupunctureproducts.com/http://blog.timesunion.com/holistichealth/acupuncture-for-the-treatment-of-headaches-and-migraines/612/http://blog.timesunion.com/holistichealth/acupuncture-for-the-treatment-of-headaches-and-migraines/612/http://www.ccn-roubaix.com/index.php?option=com_content&view=article&id=144&Itemid=599&lang=enhttp://www.ccn-roubaix.com/index.php?option=com_content&view=article&id=144&Itemid=599&lang=en


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1The ChangMu Dance Company, under the artistic direction of Kim Maeja, was founded inDecember 1976 for the dual purpose of reconstructing dance movement representative of thevarious periods of Korean history and of creating new movements and formats that reflect thethought and lifestyle of our contemporary world.2The gutis a shamanistic rite where the shaman offers a sacrifice to the spirits. Throughsinging and dancing the shaman begs the spirits to intercede in the fortunes of the humans in

question.

looking two ways by 25th

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